Othello is about as near as Shakespeare gets to classical tragedy. The first is intelligible, and we find it in Iago. He is extremely self-reliant, and decides and acts instantaneously.
The delay till night-fall is torture to him.
And this impression is strengthened in further ways. It is rare, but it exists; and Shakespeare represented it in Iago. Roderigo and Cassio and Desdemona once dead, all will be well. Swinburne do not put this question, but the answer I proceed to give to it is in principle theirs.
But up to this point, where Iago is dismissed, Othello, I must maintain, does not show jealousy. He shows no trace of affection, and in presence of the most terrible suffering he shows either pleasure or an indifference which, if not complete, is nearly so.
It is important to realise, and few readers are in danger of ignoring, this extraordinary deadness of feeling, but it is also important not to confuse it with a general positive ill-will. I will begin with these. All we can profitably do is to consider narrowly our experience, and to Bradley on othello ourselves this question: This is why the appointment of Cassio provokes him.
But what is clear is that Iago is keenly sensitive to anything that touches his pride or self-esteem. He put entire confidence in the honesty of Iago, who had not only been his companion in arms, but, as he believed, had just proved his faithfulness in the matter of the marriage. Yet Bradley on othello are some critics and not a few readers who cherish a grudge against him.
Iago hinted at these ideas, and Othello rushed to accept them, because they echoed his deepest fears and insecurities. But if we glance at some of its other sources, we shall find at the same time certain distinguishing characteristics of Othello. She is not over-scrupulous, she will do anything to please him, and she has learnt obedience.
They may observe, to take only one point, the curious analogy between the early stages of dramatic composition and those soliloquies in which Iago broods over his plot, drawing at first only an outline, puzzled how to fix more than the main idea, and gradually seeing it develop and clarify as he works upon it or lets it work.
But for somewhat frequent allusions to hell and the devil the view of the characters is almost strictly secular. If such a passion as jealousy seizes him, it will swell into a well-night incontrollable flood.
He hath a daily beauty in his lifeThat makes me ugly?
It is an imposition so gross, and should have been one so perilous, that Iago would never have ventured it before. The second group of false interpretations is much smaller, but it contains much weightier matter than the first.
He is pondering his design, and unconsciously trying to justify it to himself. He finds it hard to say No; and accordingly, although he is aware that he has a very weak head, and that the occasion is one on which he is bound to run no risk, he gets drunk—not disgustingly so, but ludicrously so.
And neither she nor Othello observes what handkerchief it is. Next, I would infer from the entire success of his hypocrisy—what may also be inferred on other grounds, and is of great importance—that he was by no means a man of strong feelings and passions, like Richard, but decidedly cold by temperament.
Now, this is the temptation that comes to Iago. It is applied to him some fifteen times in the play, not to mention some half-dozen where he employs it, in derision, of himself. Aristotle proposed the tragic unities of Place, Time, and Action, that is, the whole tragedy would take place in a single location, for example a house or a city square this included messengers who came in from elsewhereit would happen during the course of one day including speeches about events which had happened in the pastand it would be a single story, without sub- plots.
In this part, a change of direction occurs or understanding is precipitated. Certainly he assigns motives enough; the difficulty is that he assigns so many. He is earthy, but could never live upon the earth.
In other plays, notably in the Tempest, we are constantly aware of the presence of this power; and in such cases we seem to be peculiarly near to Shakespeare himself. We sympathise with one or other of them almost every day of our lives. But this way of interpreting Shakespeare is not Shakespearean.
He was destroyed by the power that he attacked, the power of love; and he was destroyed by it because he could not understand it; and he could not understand it because it was not in him.Lecture on Othello - Play Construction and the Suffering and Murder of Desdemona.
From Shakespearean Tragedy by A. C. Bradley. London: MacMillan and Co., There is practically no doubt that Othello was the tragedy written next after killarney10mile.com external evidence as we possess points to this conclusion, and it is confirmed by.
Feb 03, · The title of killarney10mile.com’ critique on Othello itself depicts the entire critique. The main title of his critique “Diabolic Intellect and the Noble Hero” suggests the Bradley’s point of view of analyzing Othello, which according to Leavis is sentimental approach towards killarney10mile.com accused Bradley and other critics who supported Bradley’s.
Lecture on Othello - Othello's Jealousy. From Shakespearean Tragedy by A. C. Bradley. London: MacMillan and Co., The character of Othello is comparatively simple, but, as I have dwelt on the prominence of intrigue and accident in the play, it is desirable to show how essentially the success of Iago's plot is connected with this character.
LECTURE VI OTHELLO 1. Evil has nowhere else been portrayed with such mastery as in the character of Iago. Richard III., for example, beside being less subtly conceived, is a far greater figure and a less repellent.
A. C. Bradley as a Critic of Shakespearean Tragedy John Britton it to Othello, and then to oriticize his theory in the li~~t of Scholastlc-Ar1 stotelian principles. II Hi s major conclusion is that Bradley's theory of tragedy is false, because it logically I.
2. Kenneth Burke's article "Othello: An Essay to Illustrate a Method" Works by or about A. C.
Bradley at Internet Archive; Works by A. C. Bradley at LibriVox (public domain audiobooks) Shakespearean Tragedy by A.C. Bradley Complete text of the classic of Shakespearean criticism.Download